Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Monaco and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Bologna kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing A Certain Ratio to the jazz kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Harry Pussy. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Hashim,
Gil Scott-Heron and Jamie xx,
China Crisis,
Youth Brigade,
New Order,
the Bar-Kays,
Yellowson,
Graham Central Station,
Faust,
Kerri Chandler,
The Barracudas,
The Black Dice,
Dark Day,
Susan Cadogan,
The New Christs,
Dead Boys,
Rufus Thomas,
The Men They Couldn't Hang,
The Detroit Cobras,
Jeff Lynne,
Moby Grape,
the Germs,
Andrew Ashong & Theo Parrish,
Red Lorry Yellow Lorry,
Jeru the Damaja,
Lucky Dragons,
Slick Rick,
Deakin,
Main Source,
Oppenheimer Analysis,
Marine Girls,
Larry & the Blue Notes,
The Young Rascals,
DJ Style,
Black Sheep,
Iggy Pop,
Terry Callier,
Lou Reed & Metallica,
Lou Reed,
Boredoms,
Young Marble Giants,
Nirvana,
Ornette Coleman,
Cluster,
Manfred Mann's Earth Band,
Ralphi Rosario,
DJ Sneak,
Eddi Front,
John Holt,
Kango’s Stein Massive,
The Jesus and Mary Chain,
Heavy D & The Boyz,
FM Einheit,
Bobbi Humphrey,
Harpers Bizarre,
Scrapy,
Marmalade,
Sun City Girls,
The Slackers, The Slackers, The Slackers, The Slackers.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.